ARTISTIC PURSUITS, AND EMPLOYMENTS CONNECTED WITH THE FINE ARTS. (continued 2)

67. Animals.

We know of no artist in this country whose talents have been devoted to the painting of animals, and of but one lady, in any country, that has distinguished herself in that line—the far famed Rosa Bonheur.

68. Banners.

We saw an ornamental sign painter decorating a large flag. Stars are painted on the silk, and then sized and gilt. The flag was stretched on a frame like a piece of tapestry, but upright like an easel. Mr. M. had never known of any women being employed in the trade. He decorated banners for processions, political campaigns, &c. This is evidently a field for female industry.

69. Crayon and Pastel.

Crayon drawing seems to have been much in vogue in Italy in the seventeenth century; and we read of an Italian lady, as far back as 1700, devoting her time to pastel painting. The soft, light, dreamy effect given by the use of pastels, peculiarly fit the style for the portraits of ladies and children. Mrs. Dassel, of New York, was noted for her excellency in the use of pastels. Mrs. Hildreth, of Boston, is very successful in her crayon portraits. She charges from $30 to $40 a head. Mrs. M. A. Johnson, of Massachusetts, has spent some years working in crayon. "Her indefatigable patience in the execution of details, the fidelity of her likenesses, and the delicate perfection of finish in her pictures, are remarkable." Miss Clark received $20, and over, for crayon portraits in Boston, a few years ago. Before Miss Stebbins, of New York, became a sculptor, she drew crayon portraits, charging $50 per head. Her execution was said to be clear and forcible.

70. Flowers and Fruit.

During the latter part of the eighteenth and the first half of the present century, a number of lady artists have distinguished themselves in flower painting. During the seventeenth and eighteenth centuries, a few devoted themselves to it in Holland, Germany, Denmark, and France. For a few years past some American ladies have turned their attention to flower painting with marked success. A number in England have also obtained distinction.

71. Fresco.

The wife of an artist told me her husband knew of a fresco painter in England, whose daughter would assist him when he was hurried. But the lady thought working with men was objectionable. I heard of a young lady in New York, who assisted her father, by filling up the outlines, as he drew them on side walls. Mrs. Ellet states that Angelica Kauffman assisted her father in the interior decoration of a church, in Schwarzenberg. She painted, in fresco, the figures of the Twelve Apostles. Her success in an undertaking so difficult excited considerable attention. Mrs. N., wife of a fresco painter, thought the work unfit for women, because they would be compelled to work with men, and stand on platforms to work on ceilings; consequently are liable to exposure of person. They might paint the side walls, and let men paint the ceilings.

72. Historical.

But few ladies have devoted themselves to historical painting. The most lived during the latter part of the last century, and the commencement of the present. Catarina Vieira painted several church pictures, after the designs of her brother.

73. Landscape.

In the past century Holland gave to the world the largest number of female landscape painters. America and England bear away the palm for the present century. American scenery opens as wide a scope for the talent of the landscape painter as any on the globe. Mrs. ——, one of the first landscape painters of our country, thinks landscape requires more care and talent than portrait painting, but the latter pays best. She says there are some ladies in Boston, who are very good landscape painters. She thinks it would be very difficult for a young artist to become established in New York, without influential connections, and the means to keep her until she does become established; but would be more likely to succeed in cities in the South and West. She thinks there are good openings in Baltimore, for artists of every kind. She says art is much more encouraged in the United States during the last few years, and a good artist need not fear starving. The artists of New York have three receptions during the year. The object is to make known their paintings, with a view to selling. At the last annual sale of pictures for the New York Artists' Fund, $2,000 were received. Some artists copy a landscape exactly as they see it; some select the most beautiful parts of different landscapes, and combine them; and a few draw entirely from imagination. Good painters of scenes for theatres, I have been told, often receive from $25 to $40 per week.

74. Marine.

Some very good marine views have been executed in this country, but none by ladies.

75. Miniature Painters.

"We may run back as far as the twelfth century, and find a few miniature painters among the fair sex. Margaretta von Eyck devoted most of her time to painting miniatures, in the fifteenth century. In the seventeenth century, an Italian lady of Palermo distinguished herself as a painter in oils. Mrs. Wright, an English miniature painter, died in 1802; and Maria Conway was a noted miniature painter, living in London, who died in 1821. In the seventeenth century, Maria Rieger was employed to paint miniatures in the aristocratic circles of Germany. In the same century, a Swiss lady, Anna Wossar, began at the early age of thirteen to win a name in the same branch of painting. In the same century, almost every country in Europe gave birth to one." Mad. Goldbeck, of English birth; Mrs. Hill, of Boston; Miss C. Denning, of Plattsburg; Miss Anne Hall and Miss O'Hara, in New York, are the principal miniature painters in the United States. It was reported that Miss H. occasionally received as high as $500 for a miniature. Mrs. Hill received from $75 to $100 for a miniature. The popularity of photographs has caused many portrait and miniature painters to devote themselves to that branch of art. Some artists succeed in giving an ideal,

spirituel

beauty, truly astonishing. I think it is more observable in miniatures on ivory than any other style. Mr. W. writes: "In the department of miniature painting women find profitable employment and are ofttimes very expert at the work. I know a lady in Washington who paints very beautiful miniatures, for which she receives from $10 to $15. This is very nearly the same rate paid to men. Woman's delicate sense of touch and facility of expression make it a branch for which she is especially fitted."

76. Panoramas

, we suppose, have pretty well paid their way, particularly the first that were exhibited; but we know not that any lady has ever engaged in this branch of painting. Mr. D., a scenic and panoramic artist, says the "decorative workshops" of Paris are 250 feet long, and 50 feet wide. The cloth for panoramas is laid on the floor, and the paint then applied, as it would run if hung up. There are galleries around the walls, some distance above, from which the artist may judge of the effect of his painting. Many dioramas are used, and might be colored by ladies. Panoramas have not been so common since Banvard painted his. Painting them does not always pay for the trouble and expense. It requires a certain order of talent for painting panoramas, and probably as high an order as any other.

77. Portrait.

"Lala, though not a native of Rome, exercised her profession in that city during the youth of Marcus Varo, painting portraits of women. Her pictures were better paid for than those of any other painter of her time. Portrait and character drawing have ever exercised the talents of the first-class artists." Mary Beale was a celebrated portrait painter, who lived in the reign of Charles II.; and Anna Killigrew painted the portraits of James II. and his queen. An artist told me that it requires the most intense mental application to bring out a variety in the expression of the countenances of some sitters, and difficult to seize the most happy expression. An ambrotype copy should be kept for the colorist to look at occasionally, while progressing with his work. He thinks seven hours a day enough for an artist, when his mind is exercised with his work. After so long an application, he might turn his attention advantageously to some style of painting more mechanical in its nature, that will be an occupation to his body and a relief to his mind. A portrait painter writes me in answer to some questions: "The artist's labor cannot well be intrusted to another. In France there are female portrait painters, who are said to execute such works with more delicacy and profit than men. The employment is not unhealthy, unless the laborer confines herself too long in a poorly ventilated room. Women are paid by the piece, when employed by artists. I would say, in general terms, why women are not better paid is owing, doubtless, to a very foolish idea that, in all respects, they are not so reliable. Perhaps a remnant of a more barbarous period has something to do with it. In inferior conditions of society women are always looked upon as inferior creatures. Women have done great things in art. See the career of Rosa Bonheur, Angelica Kauffman, Miss Sharp, of London, and, in our own country, Mrs. L. M. Spencer and Miss Hosmer." Some people are gifted with a love for, and success in, one style, and some in another. Our nation, composed as it is of representatives from all lands, will give fair play to the best powers of the portrait painter. Miss G. thinks a lady of talent, by close application, with an extensive respectable connection, can establish herself in New York as an artist, and earn a livelihood by the products of her pencil. She charges as much for a crayon portrait as for one in oil. She succeeds best in crayons. $60 is her price for a large portrait; $10 or $15 more, with hands. "Mademoiselle Rosée, born in Leyden, in 1632, deserves a place among eminent artists for the singularity of her talents. Instead of using colors, with oil or gum, she used silk for the delicate shading. It can hardly be understood how she managed to apply the fibres, and to imitate the flesh tints, blending and mellowing them so admirably. She thus painted portraits, as well as landscapes and architecture."

78. Water Colors.

Much improvement has taken place in this style of painting during the last few years. Fanny Corbeaux is mentioned as a superior English painter in water colors, of the present century.

79. Painters of Dial Plates.

This is rather an artistic employment, but poorly paid. All the clock faces used in the East are said to be painted by women. Men would not do it for the prices that are paid. In Boston is a large factory where a number of girls are employed in painting hard dial plates—that is, enamelled. I saw a Swiss lady in New York who paints silver-faced dial plates. She and a gentleman in Hoboken (she told me) are the only persons in this country who paint that style. The drying of hard dial plates she thought to be bad on the health, because of the great heat to which a person is exposed in placing the enamel in the furnace, and attending to it while there. Mixing the enamel could be done by women. When learning to paint dial plates in Switzerland, she paid $3 a week for instruction and board, but for a sleeping room separately.

80. Picture Restorers.

E. says he has been thirty years engaged in restoring paintings and engravings. He thinks it is more of a natural gift than anything else. He has made money by it. His sons, who have been ten years employed as draughtsmen, cannot succeed, with all the instruction he has given them. To succeed requires the talents and experience of an artist. He never adds paint when any is left, but merely restores it. If it is gone, he supplies it. B. says, restoring paintings is a work of all time. The prospect of a lady succeeding is poor. She cannot use the heavy iron (twenty-five pounds) necessary for ironing the lining on the picture. (But that part is merely mechanical work, and can be done by a man.) The greatest aim with most restorers is to imitate the old masters. Mrs. C., whose husband is a picture liner, says there is a great wear and tear of mind in that business. A restorer may injure a picture, and have it thrown upon his hands, and have to pay ten times its value. Restoring is the most difficult, lining the most laborious. She never heard of any one being taught. I should think a restorer would find it desirable, if not essential, to visit the galleries of Europe, and study the works of the old masters. The business requires considerable artistic taste and knowledge, but, in our large cities, may after a while present a field for qualified women.

81. Piano Tuners.

I think a piano tuner might form a class of ladies, and give instruction in the art. $1 is the usual price for tuning a piano in the city. One should have an acute sense of hearing, to succeed; and he should commence early to cultivate that sense. It is very necessary to know how to make a nice discrimination of sounds. Practice in that is best gained in a piano factory. Some could learn the principles in half a day. More depends on practice, and a native talent for it, than anything else. At Mr. W.'s is a very superior tuner, and he has been at it but a few months. It requires strength of wrist, and a rather long arm. The change of posture and strain on the back is considerable. There is not one good tuner in fifty. Mr. W. thinks a lady might be a tuner. He says it is not necessary that a person should know how to play on an instrument, but it is better. A tuner in his factory receives $3 a day. Regulating is done by the touch, tuning by the ear. If a lady could obtain the tuning of the pianos of her friends, they might speak to others, and in that way she might succeed in obtaining sufficient custom to make a very comfortable support. It might also bring out any musical talent the individual possesses. While piano tuners are learning, if they practise long at a time, they often experience a confusion of sounds, and are not able to distinguish correctly. I was told by another manufacturer, it is not at all necessary to be a player to make a good tuner, as the two are entirely distinct. There is a great difference in the abilities of tuners. There is much difference naturally in the sense of hearing in different individuals: there is much from training, there is much from the aptness of a pupil, and in the application. When they take a boy as an apprentice, they keep him at first to sweep the room, and go errands, and give him instruction, probably an hour at a time, in tuning. Longer time would confuse a learner. They have had a tuner for three years, that they can now send to tune pianos for concerts; but, a year ago, they could not. Two piano tuners (women) are mentioned in the census of Great Britain. Mr. W. had two or three ladies to learn piano tuning in his factory. They were music teachers, living in villages and the country, who could not engage a tuner oftener than once in two or three months, when the tuner would come around. He thinks ladies could not make very good tuners, because it requires great strength in the hand or wrist, and complete control of the key; for if the key is turned ever so slightly more than it should be, the wire will break. A manufacturer of musical instruments writes: "I think women could be placed in a situation profitable to themselves and the community by learning to tune pianos and melodeons, which I believe they have the skill and capacity to do. They would also find it profitable, in some places, to instruct juvenile classes of both sexes in sacred music."

82. Plaster Statuary.

The few women in this country who work in plaster of Paris, are, as far as we know, natives of other countries. There is an old Italian woman in Baltimore who makes and sells works in plaster. Casts are sometimes taken by women, but rarely. Casts of living persons are taken by having the individual breathe through iron tubes placed in the nostrils. Casts are also taken from reliefs, statues, and models. They require less care than the first mentioned. Fruit is imitated in this material, and colored exactly like the original. I saw a case that had been prepared by a lady for the rooms of the American Institute, New York. The librarian thought several collections might be disposed of to agricultural societies and farmers. It would pay well, and take but little time to learn. It would require a nice discernment of colors and shades, and neat, careful workmanship. In Brooklyn, I was told by a boy, that did not look to be more than 14 or 15 years of age, that he had been working in plaster of Paris for three years. His was the architectural branch. The first year he received $1.50 per week; next year, $2; and the next, $3. He thinks a woman could do any of the work. The moulds for some parts are made of wax and rosin; some of sulphur, and some of plaster of Paris. The moulds are tied together, and the liquid plaster poured in. It hardens in half an hour. Mr. W., a plaster of Paris worker, says the whole of the work could be done by women. Modelling requires practice in drawing, and a knowledge of geometrical figures. Inventive talent finds a ready field for exercise. A good moulder is paid $2.50 a day. The study of architectural ornaments and books much facilitates the advancement of the art. Modelling and casting are distinct branches. Most employers pay boys thirty-seven cents a day for casting; but to learn modelling, it is customary for the learner to pay a premium. Another maker of house ornaments said modelling could be learned in six months, and when a person has learned, he can earn from $3 to $5 a day of ten hours. One must know how to draw in order to model. Another proprietor told me he had thought of employing girls to break off the edges of architectural ornaments. They now have boys, and pay from $3 to $9 per week. Modellers can earn $2, $2.50, and $3 per day. He paid $2.50 a day, for a year, to one man. At a large store for the sale of plaster of Paris articles in New York, the proprietor, a gentlemanly Italian, said he would be willing to give instruction to a class of ladies in modelling, moulding, casting, and polishing. He would charge $2 for two hours' instruction, and thinks, after a lesson every day for three months, and some practice in the intervals, his pupils would have no difficulty in prosecuting the work alone. It soils the clothes very much. His daughter learned it, but prefers embroidery. One of the Pisani brothers told me that in Italy and Paris women work at the business. Much ornamental work is executed in alabaster, spar, composition, and plaster of Paris. None of them are unfit for women. A more desirable occupation, with the exception of its want of cleanliness, a woman could not engage in, than plaster of Paris modelling. An Italian plaster image maker in Boston writes me: "We employ about 60 women. Women are employed at this business in Florence, Rome, and Milan. I get about $10 per day, and pay women $3 per day, working ten hours. I pay both by the piece and by the day. As a general thing, we pay men better than women. It requires some genius and a lifetime to learn the business. The prospects for employment are good in Boston, and there is a pretty lively demand for hands. All the women I employ are Italians. Women are decidedly superior workers. The business can be carried on in any part of the United States. Women might be employed in taking casts from the dead, if they have sufficient nerve. I have a peculiar fancy for this branch of the work, and do not consider it unhealthy."

83. Painters of Plates for Books.

Hundreds of thousands of plates are annually colored in London, and some in this country. The neatness and patience of women fit them admirably for this work. It is an agreeable, but at present not a very constant or profitable employment. The coloring of lithographs in printing has done away with much hand coloring. The painting of stereoscopic plates has given employment to some ladies, and does not require much skill or taste. The gentleman who prepared stereoscopic plates for the Messrs. A., employed several ladies, to whom he paid on an average from $9 to $10 a week, working by the piece. Botanical plates are mostly colored by hand. The gentleman who prepares the fashion plates of the

Ladies' American Magazine

employs women, paying from $4 to $7 a week, according to application and rapidity of execution. They work from eight till dark, in winter, and by the week, not the piece. It requires but a few weeks to learn. He has stereoscopic views also painted by women. They receive rather better prices, as it requires some artistic taste and more care. The universal complaint among employers is, that their best workwomen will get married and leave them. If women were better paid, employers would not be so likely to lose them. A few years ago, we saw a newspaper statement to this effect: When maps were colored by hand in New York, girls were paid from three cents to ten cents a sheet, and they earned from $3 to $5 a week. A few years back, it was estimated that there were two hundred female paint colorers at the top of the profession, who made excellent wages by coloring costly engravings. The colorers of plates in

Leslie's Magazine

pay by the hundred or thousand. The first year, a learner is paid but little. If she succeeds right well in that time, she is then paid according to the quality and quantity of her work, earning from $3 to $5 per week. They must work in the shop, so the superintendent can see if it is properly done, or reject and have altered such plates as are not. All seasons are alike. A manufacturer of children's toy books told me he employed girls for coloring, paying by the piece. They earned each from $3 to $3.50 a week. They used stencil plates. He generally kept them employed all the year round, but the occupation is full. A German print colorer told me he employed thirty girls till the panic, paying by the piece from $3 to $3.50 a week. Stencil plates of varnished paper were used. He paid his workers from the first, and they could either sit or stand while at work. Another paint colorer told me his girls earned from $4 to $4.50 a week, for coloring the finest prints, working only in daylight. A manufacturer of valentines and children's toy books told me his girls painted valentines in winter, and toy books in summer. He pays two of his girls by the week $7 each, and none of the rest less than $4 a week. They work from nine to ten hours a day. The use of stencils by Germans has reduced the price of such work. He could get girls to do book coloring for $2 a week, but prefers to retain his old hands constantly. Most colorers of prints work at home. A getter up of gentlemen's fashion plates told me he pays ten cents for coloring a large sheet containing several figures, and the worker finding her own materials. No one could earn the salt of her bread at such rates. Another print colorer told me it requires from two to six weeks to learn, according to the ability of the learner. Sometimes he has Government work that must be done hurriedly. They have least work from New Year to March. Some print colorers pay by the week; $5 is a good price. I saw an engraving on the wall representing an English barnyard, for which the proprietor was paid $3 for coloring, while he pays the lady who does it, $2.25. Some ladies, he says, can earn from $10 to $12 a week.

84. Photographists and Colorists.

Mr. F. says they would employ good lady artists, if they could get them; but ladies do not succeed so well, because they do not have such an efficient course of training—do not go through the same gradations in a preparation for the work. They mostly employ men that are foreigners to color. A colorist of photographic views for stereoscopes says he pays a lady to color for him $6 a gross. English ladies color best. The firm with which he is connected cannot get their coloring done in New York, so have most of it done in London; and as work is cheaper, it costs them no more with the addition of transportation. At one photographic establishment in Philadelphia, the proprietor told us that several artists now devote their time to the coloring of photographs. He pays one lady at the rate of $12 a week. She is employed on the low-priced pictures, such as are sold for $5, exclusive of frame. The portraits range from $75 up. The lady painter is daughter of an English artist. She works all the hours of daylight, when required—sometimes only six hours. B. has at different times encouraged and employed female artists; has never met with any one who excelled, but does not doubt they might do so if properly trained. He had a lady partner in daguerreotyping and photographing. She was very poor when she commenced, but, while engaged in it, supported herself and children, and educated them, and left $3,000. He told me of two ladies making a handsome support by coloring photographs. His best pictures are painted by gentlemen artists. He thinks the taking of photographs not so suitable for women, because it is dirty work; that is, the nitrate of silver that gets on the fingers stains them like indelible ink—a small difficulty, I think, in the way of a woman that has a living to make. There are several ladies in Philadelphia who make their living by painting photographs. Some ladies have quitted the profession of teaching to become photographers. Ladies are sometimes employed in photographic galleries, to wait upon company, agree upon prices, deliver the work, and receive pay. For such services they are paid from $3 to $5 per week, according to the amount of business done. Photographers work from eight to ten hours. Some think the business unhealthy, because of the gases that arise from the combination of chemicals. Women that have had practice in drawing and painting can give a pretty and delicate touch in the coloring of photographs. L., photographist, employs two ladies to color photographs in water colors. He teaches it for $10. A good colorist, with constant employment, can earn from $10 to $15 a week. He thinks there are openings in the South. Some prefer water coloring to oil, because you can see the pictures in any light. Oils are better for large pictures that you see at a distance. Painting in water colors does not pay the artist so well as painting in oils. Misses E., New York, are busy all the time. They execute different styles of painting, but have lately found it more profitable to color photographs. They each earn from $12 to $15 per week coloring photographs, when busy. Their work is all brought to the house. They have had several offers to go South, and better prices than they receive in New York. Miss E., with whom I talked, thought if any ladies would learn thoroughly, and could not obtain painting to do, they could easily obtain situations as teachers of painting. I saw the wife of an artist who gives instruction in drawing and painting. She told me her husband is very conscientious and will not recommend any one to spend their time and money learning to draw and paint, if he finds they have not talent of that kind. Some people think they possess genius, and can excel in painting, even if they commence when thirty or more years of age; but it is best for an artist to commence early in life. The talent of some is developed in a shorter time than others. One may learn in three months what another could not in six. Her husband can advance an American pupil as far in two years as he did his German pupils in four. He thinks the Americans are more apt, and acquire more rapidly. She thought a lady would not find any difficulty in obtaining constant employment as a painter. Miss J., Philadelphia, has as much to do at coloring photographs as she wishes. It takes her about a day to color a small one, for which she receives $1. For those pictures on which there is more work, the prices are higher. The painting of ivorytypes is more expensive. An ivorytype the size of a $1 photograph would cost $10. Most photographers send their coloring out of the establishment to be done, and pay by the piece. In several States, women have been successfully engaged as daguerreans and photograph colorers. Some have travelled through the country, stopping in various towns to carry on their business. Some knowledge of chemistry is necessary for a photographer. One photographer writes: "Women are employed in every country where there are first-class galleries. It is unhealthy in the operating rooms, on account of the acids and poisons. We pay $4 a week to ladies to attend the show case and wait upon customers. We pay men $6 and $7, because they can do more by one third of the same kind of work than a woman. Any part of the business can be performed by a woman. We pay girls $4 from the commencement. They spend eight or ten hours at the gallery, but are not employed all the time. They are as comfortable as in their own parlors receiving visitors. Ladies prefer one of their own sex in the reception room. There is always demand for superior work in our line; consequently, a prospect of employment so long as the world stands. In Syracuse, fall and winter are the most busy seasons." Mr. A. says the occupation of portrait and miniature painters is gone since the discovery of the photographer's art. He thinks ladies are as capable of arriving at great excellence as men in painting, if they will only apply themselves as closely. Their knowledge of colors probably makes them excel in that respect. He teaches photographic coloring, charging $1 a lesson of one hour. A mechanical execution in coloring is gained in a short time, but a good photographist ought to be an experienced artist. Mr. R. told me his girls are engaged in painting and mounting. He pays one $7 a week, and the other $5. An individual that is bright, intelligent, and capable of rapid tuition, could learn in six months. They spend from eight to six o'clock in the gallery. They have but a few minutes recess at noon, as that is the most busy time. He prefers women for some parts of the work. Men are more powerful artists, give a better expression; women are more careful, and give a finer finish. I talked with a photographic colorist, who gives instruction to a few ladies in coloring, and employs four. He thinks women are generally better judges of colors than men, but some women never learn the shades. (I think, unless it arises from some physical defect, it is because they are not taught to distinguish colors when children. It is difficult to teach a person the careful use of any of the senses if they are neglected in childhood.) The work requires some artistic taste. A knowledge of drawing and colors, and a good education, are essential to success. A young lady in the business should be social in her nature, and of pleasing address. I would think an artist of any kind would need the talent of drawing to the surface the soul of his or her sitter, for much of the beauty of a picture depends upon expression. Mr. G. thinks water colors neater for ladies than oil. The employment is now in its infancy. The taste for photographs is increasing. There are now one hundred engaged in the business where fifteen years ago there was but one. Photographists are usually employed from nine to six, or from eight to five. The remuneration is good when constant employment can be had. The best locality is a growing place. The business would grow up with the place. The prices paid enable ladies to obtain boarding in houses that possess the comforts, and even the luxuries of life. Summer is the dullest season, but much depends on weather. French women generally succeed well in coloring. Some English ladies, also, do well. Mr. G. gives a lady colorer $12 a week. Mr. B., a photographist, writes: "Women are employed in my branch of art in England. I would like to find competent assistance, but have been unable to do so. The work is not unhealthy, but it is very trying to the eyes. I should think that in many respects the work would be well adapted to females, but think, from trials that I have made, that the mathematical precision of the work is a feature unfavorable to the feminine mind. Were I to find such assistance as I would be satisfied with, I would pay according to capacity and work. Thorough artistic education and natural talents are essential. In point of taste, as regards color and elegance, I think women might be superior; as regards precision and firmness of minute work, I am uncertain. It would require considerable time and patience to learn the art." One of the proprietors of a photographic establishment in Philadelphia writes: "I employ from two to four ladies in painting photographic pictures, and pay by the week from $3 to $6. They work eight hours a day. I pay men about twice as much, because the men, being longer at the business, work better and quicker. It requires several years' practice to gain a moderate acquaintance with this branch. It is our opinion, that women are well adapted for most branches of photographing, and for some they would be superior to men, provided always, that they bring to the work a certain degree of education, and some natural talent. We suppose the reason they are not more employed in this and similar pursuits, is, that young women of a certain degree of education, are seldom eager for any sort of employment. Besides, in this business, it requires years of earnest application to master it, and before this is accomplished, many marry. The employer feels little security in retaining a woman at the business after going through years of instruction, because in many, or most cases, they marry, and must attend to their domestic duties. With a man the reverse takes place. He becomes a better and more steady worker after marriage." "We have a great improvement in photography by its combination with lithography. By the process adopted, the object to be represented is photographed at once on the stone, and thus the intermediate operations are avoided." In times of excitement, like the present, when soldiers are going from their homes, there is much for the artists to do.

85. Preparers of Scientific Plates.

Mrs. B. has supported herself for some time by making drawings of fossils for works on geology. She is now doing one for a work on Niagara. It requires a great deal of care. It is very trying to the eyes as the engraver imitates every line made by the pencil, and a magnifying glass is of course much used for presenting enlarged views of the smallest fossils. I think she is paid by the piece or set, for the work. Of course this pursuit must be limited.

86. Seal Engravers.

Seal engraving is cutting in a precious stone, letters or a device. The cutting is done by means of a lathe and sharp cutting tools. Diamond dust and oil are used. The lathe is moved by treadles. The finer the work, the smaller the tools. Taste, good eyesight, and a knowledge of form are necessary. No pattern is used. The hand and eye must serve as guides. It would be a very pretty occupation for women, but would require time, patience, and practice. Seal engravers in New York earn from $10 to $12 per week, but the occupation there is filled. Mrs. Ellet, in her "Women Artists," mentions a Prussian and a German lady as being noted for their skill in cutting precious stones. A seal engraver told me he does not pay apprentices the first year, but the second year $2, and from that up, according to the abilities of the worker. It requires from four to seven years to learn all the branches thoroughly. Another engraver told me the business is not worth learning now that gum mucilage has done away with sealing wax, and consequently the use of seals. The designs for seals are usually taken from a heraldry book; always when for a coat of arms. Such seals are in greater demand in Europe. Seal engravers in this country do not have constant employment. They cut fancy seals when not otherwise occupied. The work can be done at night by a good light.

87. Sculptors.

Properzia di Rossi, Maria Domenica, Anna Maria Schurmann, Maria von Steinbach, Anne Seymour Damer, Falicie de Faveau, and in our own country and time Miss Lander, Harriet Hosmer, and Miss Stebbins, are among those who have proved the ability of woman to succeed in sculpture. Sculptors, it should be understood, seldom, if ever, labor with the chisel. They prepare models, which are made in a composition of clay or wax, and then superintend the imitation of these in marble. Sculpture is the chastest imitation of nature and the highest expression of the form and spirit of beauty known to art; and while woman is possessed of the finest sensibility and most exquisite perceptions, there can certainly be no reason why she should not succeed in it. Mr. Lagrange, in urging the establishment of Government schools of design in France, says: "Painting, engraving, and sculpture, encouraged as music and dancing are, promise equal success; they provide a more assured support in its being better acquired, and a more substantial renown, and especially a calmer and chaster existence. Painter, engraver, or sculptor, it is her

works

alone that claim the public eye. Her person is sacred; no one dares to lift the veil that conceals her countenance; no one presumes to call upon her to courtesy to feeble applause. A young girl, chaste and pure, she may watch by the lonely hearthside; a wife, she may not see her smiles and caresses in dispute as the seal of a purchased rite; a mother, she may educate her children under a name they will never be tempted to despise. Exhibitions, open to everybody, will afford the public an opportunity to measure her talent or genius; critics will confine their attacks to her works; and praise, if she deserves it, will reach her eyes and ears in terms that she will be able to listen to or peruse without the accompaniment of a blush." Mrs. Wilson, wife of a physician living in Cincinnati, has executed busts of her husband and children that are said to be excellent likenesses. Mrs. Dubois, of New York, has sculptured in marble several specimens. Misses Lander and Stebbins, and Miss Hosmer, we believe, find their art lucrative. Sculptors should attend anatomical dissections; should learn the structure of the human frame, and the appearance of the muscles under the various conditions to which circumstances may subject them. Indeed the study of anatomy is essential to success. In sculpture, we closely imitate the parent, nature. The most superior specimens of statuary are said to be modelled after nature, as seen in the unlaced, unpinched, unaltered original—just as nature's own hand has chiselled. In sculpture, modelling is the inventive part of the work, and requires taste and genius; copying is a merely mechanical operation. A pursuit of this kind, if followed from the love of it, becomes a soul-engrossing study. Means or friends to rely upon, for at least two years, during the time of study, will be necessary in most cases; for if the artist is to support herself while she studies, only the highest earnestness can sustain her; but then those that are not in earnest should not undertake this art—for "it is better to pursue a frivolous trade in a serious manner, than a sublime art frivolously." Without very decided talent it will be some time before a sculptor comes sufficiently into notice to sustain herself entirely by the filling of orders. "Sculpture has become almost a fashion in Paris; but a woman finds it difficult to devote herself to studies pertaining to the art. Though greater in number than painters, they have accomplished scarcely any remarkable works." Many women who might not undertake sculpture, might learn to work in marble for sculptors. A marble worker in its various branches, writes me: "I think women might be very well employed in the lighter parts of finishing. I suppose they are not so employed, because there has not yet been any organized and extended effort made to introduce them into this line of business. I am not sure, but think it likely, women are employed to a limited extent in

chiselling

marble in Italy and France. Miss Hosmer has done more than mould for others to copy. She has herself handled the mallet and chisel. The employment in general is healthy; but lettering, and indeed fine chiselling of any sort, requiring the eye to be brought near to the work, raises a dust, which is breathed into the lungs—though the injury is not very apparent till the lapse of years reveals it. The qualifications desirable are a good judgment, and eye for form, and a certain slight of hand. The prospect for marble workers is good in all departments." On the other hand, another writes: "Sculpture is too laborious for women, and if women practise the art, they hire all the work done." In Rome, two thousand women serve as models to painters and sculptors.

88. Steel and other Engravers.

Steel and copper engraving require a very good knowledge of drawing, and careful manipulation. A great advantage has been gained by substituting steel for copper plates. One beauty of steel engraving is that it can be done at home. Men like easy employments, and so have appropriated this one. An engraver must learn to convey the feelings of an artist. Lithography has seriously interfered with steel engraving, and photography has to some extent. There are very few journeymen engravers. Most go into business for themselves. Some women are employed in engraving copper cylinders for calico prints. Line and stipple are the most expensive engraving. Mezzotint is cheaper. Boys practise on copper, and do not work on anything valuable until they are able to engrave well. One reason that engravers do not like to take apprentices is, that they cannot do any thing under two or three years, of any value to their employer, but expect to be paid from the first. Besides, an engraver seldom has enough of such engraving as a learner can do to keep him constantly employed. Those who receive apprentices in New York take them for five years, and pay something from the first; but very few men in New York, in any branch of work, are willing to take apprentices. Much of the success of a learner depends on his inclination, taste, and individual exertion; and when he possesses these, they render him valuable to his master—so it proves a matter of mutual interest. All engraving is mechanical to a certain extent, but requires some artistic taste. In "Women Artists" we find the names of some ladies distinguished as engravers in Italy, France, Germany, and England, in the sixteenth, seventeenth, eighteenth, and nineteenth centuries. Jane Taylor and her sisters paid their share of the family expenses by engraving. Miss Caroline Watson was an engraver of portraits to the queen in the reign of George III. Angelica Kauffman and Elizabeth Blackwell both engraved on steel. We read: "In London, recently, one accomplished female engraver has turned her steel plates into a pleasant country house, which she means to furnish with the proceeds of her delicate painting on glass." In Paris, during the last thirty years, quite a number of ladies have earned a livelihood by steel engraving, and several are now employed there in card engraving, and engraving fashion plates. There are some engravers in the South and West, but there are openings for more. A card, seal, medal, and door-plate engraver writes: "The usual number of hours for engravers are from eight to ten. The business may be learned in from one to two years, to be of use; but to learn thoroughly requires three or four years. The business generally pays well by jobs, and I see no reason why females may not engrave as successfully as males with the same application."

89. Bank Note Engravers.

"Steel engraving was first practised in England by the calico printers; but it was first employed for bank notes and for common designs by Jacob Perkins, of Newburyport, Mass." The American Bank Note Company, New York, employ about sixty girls, forty-seven of whom are engaged in printing or making impressions; the others in drying, assorting, and laying together the sheets to be placed under a hydraulic press. It requires but a few weeks to learn the part done by girls. Some are paid $3 and some $3.50 per week. They are mostly American girls. A lady told me that she heard a girl, who had been employed to cut up bank notes (done with scissors), say she often earned $9 a week. The company pay a boy $3 a week from commencement until through his apprenticeship, which is usually four or five years. Here a man can earn $100 a week, if a first-class bank note engraver; but in England not more than $10 or $12. There, however, paper money is but little used; a £5 note being the smallest in value. Bank note engraving is both mechanical and artistic. At the office of the National Bank Note Company, a gentleman showed me the various processes. He had often thought ladies would do well to learn bank note engraving. I saw two or three gentlemen engraving. The process is simple, but requires a good deal of patience and practice. Their girls are employed to place the sheet for an impression under a roller, and, after the impression is made, remove it. Some receive $3, and some $3.50 a week. It is dirty work, on account of the oil and ink used. Their girls wash every evening the blankets used on the cylinders. Bank-note engravers of the first order receive a salary of $4,000. Some receive from $2,000 to $3,000 per annum. Bank note engravers work but eight hours a day. Mr. M. thinks there would not be much difficulty, if a lady wanted to learn bank note engraving, from the prejudices of men, for some of them are not only just but generous. One of the gentlemen engraving knew several ladies in England that were bank note engravers.

90. Card Engravers.

I was told by a card engraver that it was not usual to pay a learner anything. He gives his apprentice only his board the first year. A card engraver may draw letters well, and not be able to write well, and

vice versa

. One should be steady and patient to draw and form letters, and possess some natural taste, to succeed. It requires also much practice. A card engraver can earn $5 a day, if he is industrious, and has sufficient work. A journeyman is paid in proportion to his abilities, from $5 to $25 per week. Some card engravers earn $2,000 a year, clear of all expenses. The older a city, the more engraving is done. In Europe, first-class merchants never use type cards, but engraved ones.

91. Door Plate Engravers.

I was told by a door plate engraver that a skilful person, who would apply himself closely, could learn the business, so that, at the end of one year, he could make a living. For door plate engraving, it is necessary to form letters well. The size of the letters for a given space must be divided by the eye. It requires great care, as one badly formed letter would spoil the whole plate. Engraving of any kind fatigues the back from stooping, and the eyes from straining. In door plate engraving the eyes suffer least fatigue. Of course less strength is necessary for plate engraving if the tools are of a good quality and in proper order.

92. Map Engravers.

Map engraving is divided into two kinds: the lettering and plain work. The last can be learned in six months by a person of taste and talent. The most that is needed is practice. A knowledge of drawing is not necessary for this branch. There is not much map engraving done in this country, because of the expense. Most is done in New York and Philadelphia. The best map engraving done in Paris is executed by ladies. There are also some ladies employed in map engraving in London, and card engraving is there quite common for ladies.

93. Picture and Heraldry Engravers.

Engraving pictures pays well—a man often earning $10 a day. A superior landscape engraver calculates to earn $2,500 a year. Mr. R. historical engraver, does the engraving for the

Cosmopolitan Art Journal

. He says: "In England, better prices are paid for historical engraving than here. Those who do the work receive less, but the employer has a greater profit than in the United States. More time is allowed the engraver in England to execute a piece of work." Mr. R. pays his hands from $7 to $10 a week, and the best historical engraver never gets in this country over $30 a week. In England the work hours of an engraver are nine; here seven. He says the art is dying out both here and in England. It is a something in which we can always be improving. Seven years was formerly the length of apprenticeship in England, and there an apprentice was paid nothing while learning; on the contrary, the parent usually pays a premium of £100. When an apprentice has finished, he will earn £1 a week, and continue to receive more according to his skill and ability. Some people send pictures from the United States to England to be engraved, saying they cannot do such work in this country as in England; while, if they would pay the same price, and allow the engravers as much time, it could be done just as well. Such an engraving as you would pay $150 for here, in England you would pay $200 for. In England it is customary for an engraver to confine himself to one style; for instance, in "Falstaff Mustering his Recruits," one engraver would do the wall, another the figures, and another the drapery. Mr. R. was paid only $2,000 for engraving "Falstaff Mustering his Recruits," and it took three men two years. The business is not unhealthy, and not injurious to the eyesight, although a glass must be used constantly. Mr. J., historical engraver, used to have persons employed that did the different parts of a picture, and he paid them each from $15 to $25 a week. He thinks, of those who learn metal engraving in Europe, not more than fifty per cent. pursue it as a vocation, and not above four per cent. attain perfection. Some engraving, both picture and letter, is done by etching, but the best and most expensive with a graver. Mr. J. M. Sartain writes in answer to a circular: "I have no females in my employment, because I work alone. To direct others or alter what they do wrong, takes longer than doing the whole work myself. Neither do I know of females being employed by others in my branch of business. But if I were willing to be troubled with the teaching of any one at all, I should choose a female. This is from my experience of the males I taught in times past. Women have the requisites more than men—patience, neatness, delicacy; and the occupation is as suitable for them as any other they are accustomed to adopt. An unmarried daughter of mine is about to learn from me, with a view to follow it as a profession. The chance of employment is however very limited, for the reason that the cost of printing plates separately necessitates, in an extensive class of pictorial embellishments, the use of woodcuts. This wood engraving is equally suited for females, and to a limited extent they are thus employed. The field in that branch is a wide one already, with a constantly increasing demand. In my own branch of engraving, the kind of skill required is that of

drawing

. The mere mechanical skill required in

any

kind of engraving is easily attained; but the art of

drawing

is the great thing, and positively demands aptitude and taste—at all events, quite close application and earnestness.

Skill in drawing

is a key that admits to a wider range of arts than I can readily enumerate, and successful and profitable employment in any engraving depends on

that

. I am chairman of the committee on instruction of the Board of Directors of the Pennsylvania Academy of the Fine Arts, and in that capacity do all I can (as do also the other directors) to encourage female talent. We have seven or eight ladies among our students, and they

certainly

are fully equal to the males in capacity for acquiring art. Some model, others only draw. The whole of our academy studies are gratuitous. For whatever branch of the fine arts is to be followed, the first requisite is

drawing

, and the next is

drawing

, and the third and last is

drawing

." Mr. B., heraldic chaser, says there are several processes in making heraldry plates, sketching, engraving, embossing, chasing, and burnishing. He used to employ girls to burnish. The making of patterns for heraldry is never taught in this country to women, as it would cause the labor of men so employed to depreciate. He pays a man from $15 to $20 a week for chasing. He charges $1 for finding the coat of arms of an individual or family.

94. Telegraph Operators.

A new source of employment has been opened by the invention of the electric telegraph. Most of the telegraphing in England is done by women, and in the United States a number of ladies are employed as operators. To a quick and intelligent mind it requires but a short time to learn. An English paper says: "Here women do the business better than men, because of the more undivided attention they pay to their duties; but considerable inconvenience is found to result from their ignorance of business terms, which causes them to make mistakes in the messages sent. However, a short course of previous instruction easily overcomes this impediment." We have been told that, in one telegraph office in London, several hundred women are employed. I hope the application of steam to the operations of the electric telegraph may not interfere with the entrance of women into the occupation. In New Lisbon, Ohio, a young woman was employed, a few years ago, as principal operator in a telegraph office, with the same salary received by the man who preceded her in that office. "I was told by her," writes my informant, "that several women were qualifying themselves, in Cleveland, for the same occupation." The ex-superintendent of a line writes: "I have long been persuaded that ultimately a large proportion of the telegraphists, employed exclusively for writing, would be females, both because of their usually reliable habits, their ability to abstract and concentrate thought upon their engagements, their greater patience and industry, and the economy of their wages. In offices where there is a large amount of business, and, consequently, much intercommunication with customers, I have supposed the arrangement would be to have a clerk to receive and deliver communications, and the corps of operators and writers, composed exclusively of females, in an adjoining or upper room, apart from public inspection. And to this arrangement, I think, there is at this time very little to oppose, except the antagonism naturally felt by male operators, who see in it a loss of employment to themselves, and a want of proper facilities for teaching and obtaining a complement, in number, of female telegraphists. Any female proficient in orthography, with an inclination to useful employment, would make a good telegraphist, and might readily command, under a system above indicated, a salary of from $300 to $500, and be profitable to her employers beyond the ordinary male telegraphists employed under the present arrangement of office. It is in operating by the Morse system that ladies are mostly or entirely employed. The Morse is the easiest. They telegraph in small towns, where there is not much to do, and the compensation is small." The Electric Telegraph Company in London suggests that women should be employed in preference to men, as working more rapidly. All the lady telegraphists we have heard of gave satisfaction to all parties concerned. To Mr. A., connected with the New York and Boston telegraph line, I am indebted for the following information: "Women are employed in operating the Morse instrument. They are paid from $6 to $25 per month, and are paid by the month. For the class of offices in which females are employed, about the same wages are paid both sexes. It requires from three to six weeks to learn, and nothing is paid while learning. The qualifications needed are a fair knowledge of orthography, arithmetic, geography, and ordinary mechanical ability. We may want a few operatives, say six annually. The employment is constant, and about ten hours a day are devoted to work. We employ about fifty women, and they only at small offices. Nearly all are American. The employment is comfortable. There are no parts of our occupation suitable for women in which they are not engaged. They are generally more attentive and trustworthy than men. The price they pay for board depends on the locality, say from $1.50 to $2 per week."

95. Vocalists.

This is an important and profitable employment—one that has secured to many a poor foreigner visiting this country a snug little fortune. We have only to cite the cases of Jenny Lind, Garcia, Sontag, Parodi, and Catherine Hays. It was stated in the New York

Tribune

of December, 1853, that Catherine Hays had sent $50,000 to purchase an estate in Ireland. American talent is in some cases very highly cultivated; but we fear the Scripture verse applies to the substantial encouragement of native vocalists amongst us: "A prophet is not without honor, save in his own country, and in his own house." Too much money and attention, we think, are lavished upon foreign vocalists, while home talent is depreciated. An American singer must often go to other countries and acquire a name, before she is received with eclat in her own. It may be that other countries have the same failing, but, we think, not to the same extent. Let us love American talent, and encourage it before every other. Adelaide Patti, Miss Hinckley, and Miss Kellogg are at present the most noted singers of American birth. Mr. C. told me, that in New York, lady singers receive from $100 to $400 per annum for singing in churches. One lady choir-singer of whom we knew, received $500 a year, singing twice on Sabbath. Not more than from twelve to fifteen lady singers in New York receive over $350. One lady in a fashionable church receives $1,000; but she is a widow, and somewhat favored. Another lady, leading the choir in a Broadway church, receives a salary of $1,000, I have been told.

96. Wax Work.

I called on two Italians that make wax fruit; their baskets vary in price from twenty-five cents to $2. It would take a day and a half to make a $2 basket. The Italian that could speak some English told me that when he goes out to work, he charges $2.50 a day; but to give lessons, he would charge $2 a day. He thought an individual might learn in eight, ten, twelve, or fifteen lessons, according to abilities and taste. Miss W., teacher of wax flowers, charges $1 a lesson, and thinks eight or ten lessons sufficient. She thinks in country places there would be openings for teachers. I think, where there are large seminaries, a teacher would do better. She says there is an opening in Troy. If a person has enough to do, it pays well. She makes by hand; they are more natural than those made by moulds.

97. Wood Engravers.

Much and long-continued toil is requisite for success in wood engraving. A great deal depends, also, on the talent of the individual. Wood engraving is a business adapted to women, as it requires mostly patience and application, and but little physical strength. Mechanical skill is the most that is requisite, yet, as in everything else, it bespeaks the soul and taste of the originator. "Women's nimble fingers, accustomed to wield the needle, lend themselves quite easily to minute operations in the use of small instruments and the almost imperceptible shades of manipulation that wood engraving exacts." As more publishing is done in our country, of course there will be a greater demand for wood engravers. A great many newspapers now contain a large number of woodcuts, as

Harper's Weekly

,

Frank Leslie's Illustrated News

, &c. Wood engraving has been called into use for Government reports and scientific works, aside from its extensive demands for periodical literature. A lady engaged in the business writes of a class in wood engraving: "The pupils vary so much in ability, application, perseverance, and in the number of hours devoted to it, that it is impossible to judge what any one may do who has not made a trial. My own experience is that the practice of wood engraving brings a sure return for all the outlay of time and trouble spent in acquiring the art. It would hardly be safe to rely entirely upon the proceeds of the second year; the third may make up for it. The best wood engraving is done in England and the United States. In classes of wood engraving in the schools of design in England, the students are required to produce the drawing as well as to engrave it." "For a quarter of a century past, many hundreds of young women, we are assured, have supported themselves by wood engraving, for which there is now a demand which no jealousy in the stronger sex can intercept. The effort to exclude women was made in this, as in other branches of art; but the interests of publishers and the public were more than a match for it." "In 1839, Charlotte Nesbit, Marianne Williams, Mary Byfield, Mary and Elizabeth Clint, held honorable positions among English wood engravers." Miss F., at Elmira, New York, carries on business for herself in wood engraving. She learned it at the Cooper Institute, four years ago. The pupils of that institute canvassed for work, some two and two, but she went alone, and principally in the lower part of the city. They visited publishers mostly—she went to manufacturers. She got an order for $500 worth of engraving at a gas-fixture manufactory. I have heard that ladies in the school of design, New York, receive the same price for wood engraving that men would receive. N. Orr, the wood engraver, thinks the prospect very good for a woman to earn a livelihood at it. He knows a lady who has not only supported herself but partially supported her parents by her work. For wood engraving, women usually receive as good prices as men. The business is increasing. There are none West, except a few in Cincinnati, and I believe a still smaller number in St. Louis and Chicago. A person that has any talent for it can earn a living at it in less than two years' practice. A knowledge of drawing is not essential, as the drawing is usually put on the wood by the designer. Mr. Orr takes apprentices, but pays nothing the first year. They are bound to him for five or six years. Some engravers require a premium. I have been told that designing requires a very different and much higher order of talent than wood engraving. One designer can do enough in a day to keep a man busy a week. New York is the principal city for wood engraving. I think most men, while engraving, stand; but all the ladies that I have seen at work sat. "A wood-engraving office in Cleveland employed three girls in 1845, at wages varying from $3 to $7 per week, according to the experience of each in the business, being the same that men receive in the same office."